台灣布袋戲「儒」的建構及其社會意涵

Constructing Confucianism in Taiwanese Glove Puppetry and Its Contemporary Relevance

蔡志崙(Chih-Lun Tsai)

指導教授 ： 陳雪雲 ； 洪仁進

國立臺灣師範大學/教育學院/社會教育學系/碩士(2009年)

摘要

本研究旨在探討台灣布袋戲發展過程中所建構之「儒」的意涵，包括建構
的內容、異同與轉折之處，並據此分析所彰顯的社會意涵。依據布袋戲發展歷程，選取小西園布袋戲之《孫叔敖悔親》，黃俊雄布袋戲之《雲州大儒俠》以及霹靂布袋戲之《霹靂九皇座》作為本研究對象，採取質化取向之深描詮釋法進行研究。關於本研究之發現如下所述：

一、台灣布袋戲「儒」的建構與轉折
（一）布袋戲「儒」的建構
《孫叔敖悔親》建構的儒為：忠君、愛國意識、孝順、同胞愛、從夫的妻子角色。《雲州大儒俠》，則為儒俠、忠君愛國、孝順、忍辱負重、順從的妻子角色，增加了儒俠及英雄式的忍辱負重概念。《霹靂九皇座》，呈現的儒落在「行俠之道武痴精神」及「武俠天下」兩部分。
（二）布袋戲「儒」的轉變
台灣布袋戲發展的三個時期雖然各具特色，然其儒的內涵也有異同。相同之處方面，三齣劇彰顯夷夏之防、儒家倫理以及自我修持的觀念。相異之處方面，
《霹靂九皇座》可視為較大的分水嶺，演變過程為君子儒到小人儒、守經達變之抉擇，以及儒的意涵由濃轉淡的趨勢。
（三）「儒」的轉折與社會變遷
布袋戲的發展與社會環境息息相關，就環境影響因素而言可歸結為三點，一為「政治教化功能」，二為「因應市場環境」，三為「農業倫理到工業倫理」。

二、台灣布袋戲「儒」建構的啟示
就其啟示而言有二點，一為布袋戲與傳統文化學習，包括語文能力、儒家倫理與民俗以及藝術文化。二為布袋戲教育功能，包括虛構戲劇的教育性、正面優點及負面限制。

關鍵字

布袋戲

並列摘要

This research is to examine the representation of Confucianism in Taiwanese Glove Puppetry from 1950 to the present. Three Taiwanese Glove Puppetry including “Sun Shu-Ao Hui Qin” of the Hsian Hsi Yuan puppet, “The Great Hero of Yuen –Zho, Shi Yen –Wen” of the Huang Hune-Hsung puppet, and “Pili Jiu Huang Zun” of the Pili puppet are selected and the textual analysis based on thick description and interpretation is conducted to explore the Confucius values portrayed by the Glove puppetry. The findings of this research are as follows:
I. The Construction and Transformation of Confucianism in Taiwanese Glove Puppetry
1. The Construction of the Confucianism in Glove Puppetry
The meaning of Confucianism portrayed by the “Sun Shu-Ao Hui Qin” includes loyalty, patriotism, filial piety, love for compatriots and a husband-obeying wife. In addition to Ru Xia, loyalty, patriotism, filial piety, the virtue of enduring the disgrace for a great accomplishment, and an obeying wife, “The Great Hero of Yuen –Zho, Shi Yen –Wen” put an emphasis on the idea of Ru Xia and a heroic who characterize with the endurance of disgrace for the fatal mission. Finally, the meaning of Confucianism portrayed by “Pili Jiu Huang Zun” includes the spirit of chivalrous and the spirit of Wu Chi.

2. The Transition of Confucianism in Glove Puppetry
The meaning of Confucianism on three stages in its historical transformation has undergone various. In terms of similarity, all the three Glove Puppetry highlight
making a distinction between China and non- China, and emphasized the practice of
the Confucius morality and self actualization. On the contrary, “Pili Jiu Huang Zun” seems to emphasize the role of intellectual rather than Confucius value, and highlight that rule is in use but slippage depending on situation. Overall, it is with a weak concern of Confucianism.

3 The transformation of Confucianism and its respond to evolving society
The Confucius value of the Glove Puppetry has been developed largely in relation to historical and social process in Taiwan. It can be concluded that the Glove Puppetry is underpinned by its changing response to the political ideologies mediated by the state of different period; and social transformation from agriculture to industry in general and market boom in particular as well.

II The implication of the construction of Confucianism in Taiwanese Glove Puppetry
The research confirms Taiwanese Glove Puppetry enables audience to learn key competences such as ethics of Confucian, folk culture, traditional poem and art and so on. Furthermore, it also argues that the fictitious drama’s features may result in either positive or negative impacts on the function of lifelong education.

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